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Music, Gender, and the Public Sphere...

Slominski, Tes.

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Music, Gender, and the Public Sphere in Twentieth-Century Ireland.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Music, Gender, and the Public Sphere in Twentieth-Century Ireland./
作者:	Slominski, Tes.
面頁冊數:	340 p.
附註:	Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .
Contained By:	Dissertation Abstracts International72-01A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3427979
ISBN:	9781124331812

Music, Gender, and the Public Sphere in Twentieth-Century Ireland.
Slominski, Tes.

Music, Gender, and the Public Sphere in Twentieth-Century Ireland. - 340 p.

Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .

Thesis (Ph.D.)--New York University, 2010.

In Irish traditional music history, the few women remembered as publicly active in the mid-twentieth century appear at the vanguard of a seemingly new movement toward equal participation---a linear narrative of progress that assumes a steady increase in the number of women musicians over the last century. But archival evidence contradicts this narrative: a surprising number of Irish women musicians performed at nationalist venues between 1890 and 1922, when Ireland gained its independence. Why have women musicians like Mrs. Kenny, Teresa Halpin, and May McCarthy disappeared from Irish music history, even though they contributed greatly to redefining traditional music as the sonic expression of Irish nationalism? How might they have provided a precedent for the public musical activity of Julia Clifford, Lucy Farr, and other mid-century women musicians? And to what extent can we consider the rise and subsequent decrease in the number of publicly active Irish women musicians between 1890 and 1970 a byproduct of tensions between tradition and modernity in the new nation?

ISBN: 9781124331812Subjects--Topical Terms:

516178
Music.

Music, Gender, and the Public Sphere in Twentieth-Century Ireland.
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245 1 0 $a Music, Gender, and the Public Sphere in Twentieth-Century Ireland.
300 $a 340 p.
500 $a Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .
500 $a Adviser: Suzanne G. Cusick.
502 $a Thesis (Ph.D.)--New York University, 2010.
520 $a In Irish traditional music history, the few women remembered as publicly active in the mid-twentieth century appear at the vanguard of a seemingly new movement toward equal participation---a linear narrative of progress that assumes a steady increase in the number of women musicians over the last century. But archival evidence contradicts this narrative: a surprising number of Irish women musicians performed at nationalist venues between 1890 and 1922, when Ireland gained its independence. Why have women musicians like Mrs. Kenny, Teresa Halpin, and May McCarthy disappeared from Irish music history, even though they contributed greatly to redefining traditional music as the sonic expression of Irish nationalism? How might they have provided a precedent for the public musical activity of Julia Clifford, Lucy Farr, and other mid-century women musicians? And to what extent can we consider the rise and subsequent decrease in the number of publicly active Irish women musicians between 1890 and 1970 a byproduct of tensions between tradition and modernity in the new nation?
520 $a This project first investigates the social and political forces that allowed or denied Irish women instrumentalists access to public traditional music performance opportunities in the early 1900s. It then demonstrates that Irish nationalist discourse has constructed "authentic" traditional music styles as masculine, rural, and non-bourgeois in opposition to "foreign" genres, including jazz and European art music, considered feminine, urban, and upper class. This polarization has complicated the recognition and remembrance of women traditional musicians. Using archival materials, sound recordings, and ethnographic interviews, I examine the roles and lives of women traditional musicians in three eras in recent Irish history. I begin with the early 1900s, when women musicians frequently headlined concerts and dominated nationalist competitions. I then discuss the Public Dance Halls Act of 1935, which helped move music from the domestic sphere at the same time the Irish Constitution firmly asserted that a woman's place was in the home. Finally, through a study of fiddler Julia Clifford's life and music, I examine the decades after the 1935 Act, when women were discouraged from public activity even as music-making in public spaces became more common.
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790 1 0 $a Daughtry, Martin $e committee member
790 1 0 $a Delap, Lucy $e committee member
790 1 0 $a Beckerman, Michael $e committee member
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